Comments ~ 2005: December

Shamoo and Willie - from the composer himself; Marshall Law; Rob Burnett and Gareths little problem...all this and more as we head for the big fat man in a red suit trying to break into your house...

Shamoo and Willie - the composer reveals his flatulence problems

My good friend, the excellent tuba player Dean Morley does himself an injustice when he says that some of the written pedals in my test-piece The Night To Sing were so low that only Shamoo and Willi in the neighbouring Sealife Centre heard them clearly. I possess a recording of the fabulous Grimethorpe performance at the Open and both solo B flat bass lines are exceptionally clear, as they were on the contest day in Symphony Hall. Nonetheless, I confess to feeling some remorse that my bijou abberation of orchestrated flatulence may have caused some distress to Birmingham's marine life.
 
Deano's letter raises one other issue. A few years ago Fodens Band, like Grimethorpe this year,  were nominated for  'performance of the year' for Les Preludes. If memory serves correctly, Dean also played in that performance (he is much in demand for this type of thing.) I did not allow Fodens to play any pedals at all, in line with Bram Gay's arrangement and Liszt's original orchestral score. How dumb could I get? I was astounded, nay gobsmacked at the amount of rescoring that took place in that contest, mostly in regard to additional octaves in the basses. Dean's aquatic observations have led me to consider whether my antipathy to pedal notes is attributable to having ancestors who only recently emerged from the ocean. After all, we did live close to the pier at Southend on Sea for a while. It can't be just a coincidence.
 
What has certainly eluded your loyal readers is that Dean is probably the first B flat bass player to be a member of two separate bands that have been nominated for performance of the year after failing to come in the frame at the British Open from an early draw, having dutifully observed the bombardon strictures of a decomposer and a composer on a Saturday in September, in unadjacent odd numbered years.
 
I think we should be told....
 
Merry Christmas.

Bramwell Tovey
Vancouver

Looking  forward to Marshall law
 
Like everyone else, so it seems, I was surprised to see Roger Webster and Leslie Howie leave Black Dyke. I have always been impressed with the playing of them both, and they have added their names to the history of this famous band by having assisted them in winning three important trophies within a twelve month period, by Leslie being the first female member of the band and by Roger serving ten years in two spells.
 
Having said that, I have never really been excited when Roger has played solos. I have never been on the edge of my seat waiting for his performance, because I expected it to be safe and secure - but dull. Richard Marshall, on the other hand, always excites me when he plays, whether or cornet or trumpet. In my opinion he is probably the best cornet player in the world today and I look forward to his contribution in the coming years.
 
Thomas Boss 

Well done Gareth - despite his little problem...

Having just heard the news that Gareth Daniel has been named the Black Dyke 'Bandsman Of The Year', I would like to wholeheartedly congratulate him on a great achievment.

Having grown up with Gareth in the village of Rhosllannerchrugog in North Wales,  and indeed playing in the same Wrexham Schools' Band (and Rhos Silver of course!), I know that everybody who knows him will be equally proud of what he's achieved. It is especially a great feat considering Gareth's "little problem that he has. Congratulations,
 
Gavin White
 
P.S. References to a "little problem" may, or may not have been made up, and therefore completely innaccurate.

Rob Burnett - an appreciation

I extend my best wishes to Rob Burnett on his retirement.  Rob has been an excellent exponent of quality euphonium playing for many years and I, along with many other regular attendees at contests in Wales and elsewhere have been privileged to listen to his consistently musical and professional level of performance.

How fitting then, that Rob, on his final contest performance in Wales was awarded the accolade of Best Soloist.  A richly deserved prize, won against some formidable opposition, with two of his leading competitors having won the Soloists' prizes in the 2005 Spring Festival at Blackpool in May.

I readily recall a fine performance by Rob, when both of us were "guesting" with Tredegar Band at the Garden Festival Wales – Ebbw Vale in 1992.  The occasion was the final concert in the amphitheatre prior to the closure of this major Festival (the restoration of major industrial wastelands that has been an annual feature at similar sites throughout the UK).

Just prior to the start of the concert, the media had broadcast the sad news of the death of Sir Geraint Evans the world renowned Welsh operatic bass baritone.  I asked Rob if he would play 'Myfanwy' as a tribute to Sir Geraint.  Rob readily agreed but asked if it could be the penultimate item in the concert.  Playing to a packed auditorium, Rob's artistry and musicianship in such an emotive atmosphere was absolutely superb and drew from the audience a truly amazing ovation. 

Thanks Rob for your contribution to Brass playing in Wales!  

C Brian Buckley

Thanks 4BR
 
I would like to thank you all on behalf of BBA for the wonderful support you have given us throughout the year. It has been invaluable and ensured that the profile has remained quite high.

I hope everyone at 4br has a fabulous festive season and all that you wish for in the New Year comes to fruition. Keep up the superb work and I look forward to seeing you all in the New Year.

Many thanks and all the very best to you.

Bob and Briony
Brass Band Aid

Roger Webster - a great ambassador

I must say that I was both surprised and indeed disappointed to hear that Roger Webster has left the Dyke, for whatever reason.  It is my view that he is one of the great cornet players of any era, and stands alongside the legendary cornetists such as Jim Shepherd, Maurice Murphy, Derek Garside and Phil McCann, to name but a few.  
 
He is a role model for all cornet players aspiring to achieve the very best, and naturally I count myself as one of his ardent admirers, sincerely wishing that I could emulate his wonderful playing.  (I can but try!).
 
He is a great ambassador for us all, and I believe he has done a superb job of filling the 'end chair' of a great band.  Whilst I think it sad that he will no longer be seen playing in that familiar position, I am absolutely confident that I will have the privilege of hearing him play again in another top band in the very near future, which I very much look forward to.
 
On a person note, Roger was the key to my resuming playing again after 12 years of self imposed retirement, and I can honestly say I am enjoying the experience.  Thank you Roger!
 
I would, of course, wish Richard Marshall every success in his new and challenging role.  He is a wonderful player, and I am sure he will follow those legendary players who have occupied the 'hot seat' before him with distinction.
 
Keith Hutchinson
Worthing
West Sussex 

Only appreciated by Shamoo and Willie?

Having read that Grimethorpe have been nominated for the performance of the year for the British Open, I was very interested to read that this was ‘despite taking a few risks with the music at the very end with the inclusion of pedal notes'.
 
I played in the band on the day in question and recall with some clarity, that nobody on the bass end played any pedals that weren't written by Mr Tovey.
 
I played with Fodens under Bram and I know that he doesn't like pedals even in a hymn tune let alone a piece he has personally written. He strongly indicated that he only wanted pedals where written and we've already had the debate as to whether or not he should have suggested that bands were penalised if they dropped an octave where not written.
 
It will probably be of little or no interest to most banders whether or not we pedalled but we get enough stick for pedalling when we shouldn't so I'd like to set the story straight when we didn't.
 
I'd like to think our controversial result of 12th was down to the decision of the highly educated, experienced and talentedmen in the box and not down to me putting a few rumblers in.
 
Dean Morley

PS. I'd also like to thank Bram Tovey for putting some really low pedals in his piece. Unfortunately, they were so low that the only creatures that heard them clearly were called Shamoo and Willy who live in the Sealife Centre next door.

What about West Lothian?

I find it a little surprising that West Lothian Schools Band were not nominated for 4barsrest.com Youth or Lower Section Band of the Year. The band has had a fantastic year including winning the British Youth Championships for the third time running in addition to the victory at the recent Scottish Youth Championships.

Out of contesting, it has been a memorable performing year for the band who have enjoyed sharing a stage with the likes of Steven Mead, Oystein Baadsvik and ex-band members Katrina Marzella and Angela Whelan. Being a member of the band, this comment may seem smug, but I think the lack of a nomination is an oversight on the website's part.
 
Benjamin G. Miller
Principal Bass
West Lothian Schools Band

4BR Reply:
Sorry you think like that Ben but you can vote for your band in the awards - there is still time left!

Where were we then?

Whilst I can't really disagree with most of your choices for the end of year awards, I am a little perplexed as to how my band (Ashton-Under-Lyne) can get an honourable mention in the band of the year category when mixed in with all the best Championship Section bands in the country and yet not a dickie bird in the lower section band of the year award. 

For example, Marsden get a mention for coming fourth at Tameside in a contest we actually won!  Have you forgotten that we are still only a First Section band despite all our achievements this last 12 months?  Apart from the Open (when playing against some rather exalted company) we did not come out of the top three at any contest and took numerous prizes, including the overall Tameside local award, at the Whit Friday contests!!
 
Did you forget what section we are in??
 
Simon Hardy

4BR Reply:
We didn't forget you Simon, but we have to take into account so many bands when we make our nominations. However, as we have said before, that doesn't mean you have to vote for them. Get your fingers working and vote for the band you think deserves the awards - in whatever section!

The Baritone Blogger

Thought you might be interested in hearing about a new blog that I have begun designed to give the unsung hero of the brass band - the 2nd baritone - a bit of the limelight.

Please visit it at http://2ndbaritone.blogspot.com, and I would be glad of any comments / publicity that you might think is warranted.

Daffydd Jones
2ndbaritone

4BR Reply:
An interesting 2nd baritone eh? Whatever next?

Helping with my Fantasy

Can any one help with information on "Concert Fantasy" by Gustav Cords.

I would like to get this solo with piano accompaniment for E-flat tenor horn. It was played recently by Rosie Pearce in the British Open Solo and I think also by Sheona White when she won back in the 90's. I would appreciate any information that would help me get this solo.

Brian Connolly

What a racket - but what do they expect?

Is it not strange that over the last 3 months there is a lot of commotion about the level of noise a brass band makes.  What do they expect? All music to be muted! Someone out there must hate brass bands so much to cause this amount of aggro. 

Burry Port for example have their own bandroom and still people complain "can't hear coronation street".  Lately a six piece band of the Salvation Army was served with a noise abatement order for playing carols.
 
Yet you don't hear people complain about disco noise, pop groups, military bands or orchestras to come of that. So why pick on the brass bands. If it wasn't for these bands taking in youngsters and teaching them to play a musical instruments there would be a lot of troubled people about.
 
Is it about time the brass band movement started asking questions as to what levels of volume we can play at without being summoned and get back to enjoying the art of music making.
 
Could this be some dasterly plot to make sure bands play their dynamics correctly?
 
Philip Loveday 

Utter amazement at the venue

We have just received the schedule for the Area Contest at Burton-Upon Trent for next year and notice with utter amazement that the Midland Area Committee have once again decided to use the hovel known as "The Belvedere Park Club".

It was in 2002 that they received numerous letters and complaints with regard to the filthy state of the place, the audience eating and drinking whilst listening, no rehearsal facilities, a scaffold in place for the bands to sit on, and it was agreed that it was not a suitable venue to hold a band contest. Yet here we are in 2006 expected to use it again.

I notice that it is only the lower 3rd and 4th section bands that are having to use it despite the fact that they have to pay the same amount (£65) to enter the contest as the other more prestigious sections.

Are they deemed to be nowhere near as important as their illustrious counterparts, or is it that if the Championship, 1st or even the 2nd section bands were asked to play there they know that they would refuse.   
              
I would like to hear from any other bands or band members that experienced the horrendous place, so that pressure can be put onto the committee to change the venue. 

G. Riseley

Where are we - geographically speaking that is

Hello, just to let you know that on the top 200 world rankings you've got St.Keverne band as a band from New Zeland but we are from the West region (Cornwall) in this country.

James Sturges

4BR Reply:
Oops!- We will sort it out as soon as we can James.

Hooked on Marshall
 
I would like to say I became hooked on brass when I went to a concert for the first time, and the band was Grimethorpe, which I thoroughly enjoyed, and Richard impressed me on every solo performance, all I can say in my experience I would vote for Richard Marshall without doubt.

KR Cowen

A mistake perhaps?

In your award for the Band of the Year you wrote:

We have opted for a five of Black Dyke, Grimethorpe Colliery (UK Coal), Eikanger Bjorsvik Musikklag, Leyland and Brass Band Treize Etoiles.

But in the list there are:
Black Dyke
Grimethorpe Colliery (UK Coal)
Eikanger Bjorsvik Musikklag
Leyland
BAYV (instead of Brass Band Treize Etoile?)

Which is now the correct one?

Niklaus Rohrer

4BR Reply:
The latter Niklaus - it was a typo error.

The right shade of Gray

In you retrospective of the Tameside Youth Festival you said:

In fourth were Stockport Schools under Colin Duxbury whose highlight was the bass play of Erik Le Good in Roy Newsome's ˜Bass in the Ballroom' . Other contributions included the march, ‘Cross of Honour' and an arrangement by Peter Graham featuring the cornet section entitled ‘At Eventide'.

The arrangement was by Peter GRAY not Peter Graham!

Dr Valerie Langfield

4BR Reply:
Thanks Doc!

Trying our best

In response to Ernest Lomas' comments regarding rules and setting up times and percussionists who "waste almost 80% of the time setting up and titivating around" I assure you we all try our hardest to get on stage and set up as quickly as possible. Most contests have a time limit as far as I'm aware for this, but it has to be balanced with the practicalities of the job.

With many pieces requiring multi-percussion set-ups it does feel as though we have a mini-contest against the clock even before we have picked up (usually one of an array) our sticks in anger!
 
Obviously, it's our problem for not having chosen a brass instrument in the first place, but when faced with completely alien instruments a moments grace in at least looking at what is presented is essential. I know it's a tired old argument, but I do wonder how well some of our blowing colleagues would cope if handed an instrument just before they go on with a different mouthpiece, tuning slides all over the place and then being told to play it with their left hand whilst being out of the line-of-sight of the conductor...!
 
Just to highlight the point here's an example: At the Nationals recently tubular bells were used. The ones we have in the bandroom are designed so that when you press the pedal it damps the bells. However, the ones provided on stage were the sort that you have to depress the pedal to let them ring.

So therefore I had to make sure I could get to the pedal past the other instruments, remember to actually press it down when I'd never had to do that in rehearsal and keep it down so the note would ring before at the last minute running to play something else. Now in the grand scheme of things you could argue the bell wasn't the most important thing in the performance, probably quite rightly. However, we do take a pride in our performance at the back and want all the details to be correct. In the heat of battle on stage small differences can make a huge impact on the performance.

I've read before now about unfortunate incidents when a tam-tam has fallen over or the like and no doubt rushing to set up has left things unchecked before the downbeat leading to the odd accident.
 
Pre-set postions can help, but should only ever be a guideline. Just basic physical differences between players can scupper even the best-laid plans. (A xylophone set for the six foot five gorilla in a band jacket is not going to help some of our more vertically challenged colleagues!)
 
There is no easy answer (other than the suggestion from some banders that drummers should be retired!) We do our best, aided by usually tireless backstage helpers and hope not to delay already tense players and audience alike.
 
Aren't all the rules available to download from BFBB website anyway? Pretty sure I've got a PDF file kicking about somewhere.  I wonder what other sheddies make of the ongoing criticism of our tardiness... No doubt my friend Mr Brincklow will have something to say!
 
Jon Kitchen.
Aveley & Newham's "pedantic over semantics" perc section...

Whit Friday details

I am struggling to find any information at all about the Whit Friday contests. I would like to know as much as possible including venues, rules and regs and how to enter. If anyone could furnish me with this I would be most grateful.

Sam Hairsine.

4BR Reply:
Just check the site for articles and reports in 2004 Sam and there should be enough information there for you. However you can also get in contact with Tameside Council who will be able to give you further details.

Well done Dave

May I take the opportunity to congratulate 4BR on the selection of David Gallaher to be the recipient of the 4BR Special Award this year.

He has given a great deal to both Woolston Band and New Zealand banding over the last 25 years or more and fully deserves the recognition. I also agree that he is one of the nicest men in the business, and I for one wish him a long and fruitful future in whatever musical field he now chooses.

Stuart Long

Agree and disagree?

Got to disagree and agree with 4BR and your nominations for your awards this year. I know it must be difficult to try and pick just five nominations for each category, but surely you can cast your net a bit wider than Black Dyke, Nicholas Childs, BAYV, Grimethorpe and the like?

Saying that though - who else has been as successful in 2005! Keep up the good work and my votes have been cast!

Patrick Burns 

Chutzpah!
 
Good to read in your news section that the amateurs at the Financial Times have at last picked up on the Besson administration story, particularly after reading elsewhere that some people feel your 'Rumour Mill antennae' should have been picking up signals about the state of the company's finances much earlier.
 
Perhaps the FT hacks monitor the 4BR website?  Or is this just good old-fashioned chutzpah (the Yiddish for 'brass neck')!? Either way, more power to your journalistic elbows!
 
With very best wishes and a Happy Christmas to you all.
 
Jim Yelland
Hinckley, Leicestershire.

Thanks to the distant relative
 
Many thanks to Janet Long for the information on John Gladney. I was unable to find anything on him at the Public Records Office in Belfast, and they suspected that, as he was born into a military family, early records would have been transferred to London. I am grateful for some further leads from a relative in the USA.
 
Wesley Thompson   

Conductors support   

I hope Mr Harding is being supported by one of our ex numbers from the movement in the orchestra. One, tuba, Mr Brian Earl, ex RNCM & once Manchester CWS Eb bass. Hopefully he is doing his bit in support of a new UK conductor. These banders get everywhere!
 
Phil Lawrence
Elms Studios/Publishing

The winning composer writes...

I wonder perhaps whether you are able to add the following to your website in response to the article concerning the above:
 
Winning the SWBBA Composers Competition so superbly detailed on your website was an honour and great surprise for me. I send my commiserations to the other contestants as I know how much effort goes into writing such a piece.
 
It would be appropriate here to thank the SWBBA for setting up and administering the competition - what a brilliant idea to commemorate their 60th Anniversary in such a way.
 
It is also quite relevant her to congratulate Richard EVANS and the staff of the Accrington and Rossendale College BA (Hons) Band Studies course on which I am a student. Without the input of the staff on this course, there is no way I would have been able to write anything, and it is shameful that the course will come to a close in December 2006.

The shortsightedness of the educational establishment involved has meant that a jewel in the crown of the brass banding movement is lost. It is such courses that guarantee the future of brass band conductors/composers/arrangers, and there must be a forward thinking establishment out there that can see the benefit of such a course and take it on. If those responsible for this loss are reading this - shame on you!'
 
Colin G Dance
Exmouth

4BR Reply:
Congratulations Colin on your composition and we hope it is played many times by lots of bands. You point about the Accrington Course is also well made and we hope someone in authority takes note, or a great course will disappear.

It was us, not them!

I would just like to mention the fact that Jedforest Juniors have not won the Scottish Youth Contest (Development Section) 2 years in a row, (according to your news article 2 Dec).
 
It was in fact Campbeltown Brass Juniors that won the Development section last year (as well as Campbeltown Youth Brass winning the Community Section, making it a double win on the day for us, in the 2004 Youth contests.) Jedforest Juniors won the Development section in 2003, in which it was the inaugural year of this newly revised Youth competition.
 
With that little point cleared up, all at Campbeltown Brass would like to congratulate the fine work that Alan Fernie and Cameron Mabon are doing in the Jedbough area, by keeping the youth culture heavily involved in the brass banding scene in Scotland. 

Willie Ralston
Campbeltown Brass

Enjoying Tameside to the full - reports and all!
 
I enjoyed this article (report on 4BR concerning the Tameside Contest) very much - thank you. How refreshing to read positive comments, and not the negative and unhelpful ones we get from adjudicators. (I've never read any articles on your site that weren't positive and constructive.)

This NOT a complaint! but I thought you'd probably want to know that 'At Eventide' that Stockport Schools Senior Band played was by Peter Gray, not Peter Graham.

Valerie Langfield

Can the rules by made available please?
 
The debate earlier in the year regarding brass players being allowed to bang a drum or beat a cymbal at a contest prompts me to ask if a copy of the current contesting rules could be made available on your excellent site. I am aware of some discrepancies between areas but you must start somewhere.

There are a lot more problems with rules at a contest than brass players helping out the percussion section. I'm sure the percussionists would appreciate the help on stage and certainly off stage carrying the gear to and from the bus and if members of the band were detailed at contest to help carry and arrange the sticks and music thus reducing set up time the audience would be overjoyed.

Percussionists who are 20% of a band yet waste almost 80% of the time setting up and titivating around before a contest, whilst the band, the conductor, the stage manager, the Adjudicators and the paying audience wait and wait. If any one is sceptical of these figures the facts were demonstrated at the 2005 Open Championships in Birmingham whose test piece had a duration of 15 or 16mins, yet only averaged playing five bands every two hours. ie.24min per band - that equates to almost 10 mins waiting time between each band.

Is it not time to legislate that every band must be ready to play 5 mins after the previous band finish its performance?

Ernest Lomas

4BR Reply:
We will look into this for you Ernest, but it may be beneficial to contact the BFBB who may be able to help.

More about the great John Gladney

I am related to John Gladney, born about 1839 in Belfast.  Personal info on his early years:
 
Son of John Gladney of Ballenlug, County Wexford, Ireland, born about 1807 and wife Mary.  His siblings were:  Sophia, Elizabeth, Alice Maud, James, Caroline, Martha and William. 
 
John Jr. had at least five children by his wifes Sarah and secondly Alice.  Their names:  William, Arthur, John Herbert ( also a musician), Margaret Elizabeth and Alice M. 
 
Hope this helps your reader.
 
Janet Long
USA

4BR Reply:
Many thanks Janet. John Gladney was truely one of the greats in the banding world and we are sure any information you may have on him will be of great interest. Keep us informed!.

Was Fred the man?
 
I was taught to play cornet by Fred Higginbottom with Kearsley Silver Band in the 1950's I am sure Fred had a son Gordon I wounder if this is the same person.

I still play (still 2nd cornet) with Box Hill City Band in Melbourne Australia would love to hear from Gordon.

John Kelly

Little Jack returns

At every contest or concert I attend in the N.West I am ask how 'Little Jack ' (Barns) is. Jack as been in a nursing home for the past two years and the last time my wife and I visited he was not well.

At yesterdays Tameside Youth Brass Festival who should turn up, Jack, he was brought by his friend Paul. It was great to see Jack looking very well, the glint had returned to his eyes and his face was full of smiles. I spent time with him between bands and at the end of our visit we both had to dry our tears.

Jack is a wonderful character and Paul hopes to bring his to more events, time permitting. Before he came to Tameside he popped in at Uppemill to the NWABBA Manchester Open he said they all clapped him when his attendance was announced.

Good to see you back Jack and our thanks to Paul.

Derek Atkinson

4BR Reply:
Great to see on of the real characters of the banding scene back again, and we hope it will herald further 'guest' appearances! 

The right bit of Latin...

In response to the query regarding the pronunciation of the Latin chant in the area test piece for the championship section Mr Corrigan might be interested to know that the words are actually the first line of psalm 129 .... Out of the depths I have cried out to thee O Lord ... so on this occasion we can be pretty sure that church pronunciation will be more than acceptable. As this psalm is usually associated with death and prayers for the departed  etc I suppose that a funereal air to the chants would not go amiss either.
 
Amo, amas, amat .... yes its all coming back to me now .... knew that I would find a use for O level latin sooner or later !
 
As far as the CD goes ... I am just glad that I wont be pressing the button on the day. In our house the kids never ever put the CDs back in the right box - anyone fancy a bit of Nirvana, Iron Maiden or the Floyd in the middle of the test piece ?
 
See you at the area.
 
Roman Galaska 

A disatisfied customer at Brass in Concert

In reply to Andy Holmes, from Norway, I am amused by the assumption in his email that I am a 'he'.
 
Good luck to him if he enjoyed Brass in Concert.  I certainly didn't, and neither did my family.  None of us will be going again, despite all of us having been for the last four years.  The first year we went the contest was a joy, but for the last three years the choice of music has become steadily less and less accessible and the amount of 'entertainment' has decreased.  Slapstick is not necessary for a contest to be entertaining (though I personally think the humour was one of the things that made this contest enjoyable); enjoyable, accessible music is.
 
(On that subject, we were particularly disappointed with the lack of good solid old-fashioned brass band marches.  The exceptions were Keighley Moor and Brighouse's opening signature march, both of which were fantastic, but few bands played a march, and many of those that did went for marches written by Souza!)
 
I agree with your previous correspondent who stated that banding can be parochial, and mentioned that the Albert Hall was half empty for most of the day at the Nationals.  If the public does not come and listen to us we have no-one to blame but ourselves.  Yes, what is entertaining is a question of taste, but people will only come and listen if you are playing music that they want to listen to.
 
Sorry, but I do not believe that the majority of people (banders or otherwise) would choose to listen to a lot of the music that was played at Brass in Concert if they were given the choice between that and other more popular modern and classical music arranged for band. I have spoken to a number of bandsman who have been attending the contest for many years, and they have all expressed disappointment at the choice of music and the lack of entertainment value this year.
 
Finally, can I also mention to many of your correspondents that Brass in Concert was NOT held in Newcastle?  The Sage Gateshead is (as the name would suggest) in Gateshead, which is a different town to Newcastle (and also a different town to Sunderland!).
 
(Miss) S. Hill

4BR Reply:
Thanks for the geography lesson - we will take note for next time.  

An unreserved apology

Firstly, an unreserved apology to members and supporters of Longridge Band who read my article as an insult to their success at Wilkinsons.

My comments were intended to express my personal opinion on the expected outcome and not in any way intended to suggest a poor performance from other competing bands. Own Choice contests are always full of subjective opinion - that's what makes bandin' exciting. ( Hands up anyone who does not decide on the result before it's announced. we are all 'Armchair Adjudicators' ).
 
As regards to the the reaction to my critisism of the adjudicator - well, bands work hard to prepare for a contests and the audience pays good money to listen.  Players and audience members often have as much if not more experience than individual adjudicators and we are ALL entitled to express our opinions.
 
Finally, I do agree that we should stamp out the 'Rent a Crowd or Groupy' approach that some bands use to try to influence adjudication  ( and on occasion achieve it ). You generally find this attitude comes from supporters of bands who feel they have a divine right to win. ( something about Pride and Falls? ).
 
David Catagh 

Thanks for the support

I play flugel for Valley Brass and we would just like to thank 4 BR and everyone else for their continued support and good comments over the last few contest seasons. It is such a pleasure to make music with people who are not only extremely talented but are also your best friends.

We are on the up, so watch out for us because we will not settle for anything but being the best. Harrogate was just the start!!!! Thanks again everyone, oh and playing number one at Wilkinsons on a freezing cold stage would make any band produce some unsettled entries. It was good in the bandroom, we promise!!!
 
Amy Holm

4BR Reply:
Thanks Amy, although we would point out for our more text friendly readers - 4BR has great trouble understanding modern text language in e mails. We need it the old fashioned way of spelling! (the Editor has all sorts of problems with mobile phones).  

Scottish doubling up

I can't comment on the rules in England, but.......

A few years ago I took Selkirk Silver Band to the Whitburn Entertainment Contest. 2 days before the contest our soloist for the day developed a problem and I ended up playing the Flugel solo 'Marianne'. After much trawling through the rule book by the band's secretary - those were the days, eh John?)

I conducted the band for most of the programme, but picked up the Flugel for the solo, starting and finishing the band with a wave of the instrument. This caused much disgust, and more than a little anger amongst the SBBA representatives at the time, (Note - it was the old regime!).

Come results time the band were second (I think) and the Flugel Horn Soloist was awarded the best soloist prize! A rule was introduced at the next SBBA meeting ensuring no conductor can now play with his / her band at any Scottish Contest.

David McLeod.

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